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Star Wars Movie Analysis

Wholesome science fiction is seldom inscribed. Science-fiction is mostly merged with features of some other genres, from fairy tales to horror. The film Star Wars Episode IV: A New Hope is one case of this. It comprises a mixture of science fiction with legendary and idealistic features. Causative to this mixture are the central characters of the movie, Leia, Han Luke and Obi-wan, the film’s location in very faraway galaxies, and Luke’s prodigious mission.

Luke Skywalker is a legendary personality. Luke is left parentless when he was a child and is taken in by his uncle and anti. He is hidden away from his dad and his dad’s allies to guard him against the dark side. Luke is one of the several legendary conquerors who are raised by somebody but his parents. Oedipus, a Greek mythical hero, was hiding in some other kingdom and raised by the queen and king there to defend him from his parentages(Deciphering Star Wars: Sci-Fi or Fantasy?).

The Star Wars movies are strongly imitative concerning the plots and characters, and they are totally dependent on the generic pacts of the story-telling and proverb, so they are not abusive. Finally, the creative Star Wars movie starts as a thoughtful effort by George Lucas to detention the texture of the old science literature and quest series that are accustomed to running earlier than the featured movies in the theaters. A trademark of these series was that the spectators typically did not understand the movie’s starting two or three earlier episodes and had to be engrossed in the act. Therefore, when Lucas initiates his movie trilogy with the fourth Episode, A New Hope, and with extended, scrolling descriptive writing, he is obviously annoyed to induce that similar intellect of being terrified into the centre of the act. However, one difficulty Lucas confronted in trying to ensure a giant-budget science-fiction movie was, in point, a lack of generic representations on which to draw for motivation. There had merely been no similar movies made. The only preceding reputable science-fiction movies Lucas might consult for motivation were Stanley Kubrick’s 2001: A Space Odyssey (1968) and the Soviet director Andrei Tarkovsky’s Solaris (1972). All of these films, conversely, were slow-stirring, logical art movies, by no means the thoughtful great escapade Lucas was afterwards (“Analyzing Genre in Star Wars”).

Luke is depicted as a rescuer who will carry equilibrium to the Power and will assist the Revolt in beating the empire of the evil Galactic. He is clean and sinless as he is so immature around the habits of the galaxy. Luke makes efforts to save the souls of those nearby him. Perhaps his friend Han Solo is a grasping individual who looks out merely for himself. Simply by proposing a prize, Luke persuades Han to ensure the right object and assist him except Princess Leia. At the conclusion of the movie, though, Luke reasons Han to practice an alteration of their heart. Han eagerly takes his life on the streak to defend Luke and end the Death Star, deprived of observing for a certain prize. This is similar to the story expressed in Scripture around Jesus. He tried to impart to the other people nearby him to result in a decent life in provision to others. Mythologies usually include certain religious features. Mythologies mostly tell the story of a certain god or goddess that paces amongst the humans to demonstrate them with a moral, as Jesus and Jesus do.

The genre that appeared to propose the most beautiful mixture of the great escapade, extensive situation, and definitive appeals was the West, a style comprising both serial shoot-up explorations and heroic stories made in outstanding sceneries. For instance, the disorderly cantina at Mos Eisley spaceport is a situation, the edge bar filled with bettors and rowdies that would have been elevated from any sum of Western movies. Han Solo himself stands a robust similarity to the typical Western gun-for-hire, with Chewbacca, maybe, standing up for the helper. Obviously, there is a sturdy smell of the white-hat or black-hat ethics of a general Western in the opposite figures of Darth Vader and Luke, particularly in the former parts of the movie. The Western is not the mere genre Lucas draws upon. In conclusion, the Star Wars movies are, in logic, a collection of basics that are taken from some genres, with the laser guns and missiles of sequential science fiction, the gunslingers and dirty cities of the West, and the dogfights and radio talk of Hollywood combatant pilot’s riffles(Lucas).

Part of the aim Lucas is so relaxed stealing from these different bases is that “originality” in terms of strategy and characters was, actually, the last point he was afterwards. Lucas went for definitive circumstances and a mythological quality, and he could achieve this result by keeping near the extensive simulations. He would then place these acquainted sorts of character, the young, unproven hero, the wise counsellor, the villain—with their familiar motivations in incredible, highly unfamiliar settings while still stuffing an expressive hit in his tale. The movie Star Wars Trilogy appears to exemplify inside the procedure of film several of the definitive features of heroism.

Works Cited

“Analyzing Genre in Star Wars.” OUPblog, 23 May 2017,

Deciphering Star Wars: Sci-Fi or Fantasy? Accessed 31 Oct. 2017.

Lucas, George. Star Wars: Episode IV – A New Hope. 1977.,



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